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Saxophonist Branford Marsalis, oldest son of New Orleans pianist and educator Ellis Marsalis, released an album with his quartet this week. He spoke to weekends on All Things Considered host Guy Raz about the failings of modern jazz, his hopes for the next generation and leaving New York City to move back to the South. Hear the radio version at the audio link and read more of their conversation below.
And click below to see a video of the Branford Marsalis quartet recording the first song on the new album.
GUY RAZ: I have to ask you about the title of your new album: Four MFs Playin' Tunes.
BRANFORD MARSALIS: I have trouble naming albums, so when it gets time for the pressing of the CD, my managers call me and say, "All right, we're time-sensitive here. We need a title now." And I usually say something incredibly ridiculous or controversial, and they say, "That's the dumbest thing I've ever heard." And that gives me another week.
We were in that situation again, and that phrase came from a writer who was at the session. He kept pressing me about what the concept of the record was, and I was trying to assure him that the record did not have a concept, which he couldn't wrap his head around. The general concept of the music is just about four guys on stage playing tunes, and that the tune is more important than individual solo, or any idea of genius or innovation or all these false choices that I hear in the jazz world.
When my manager said we need a title, I kind of threw that out there figuring they'd say, "That's the dumbest thing. You're not going to do it." So when I said it, there was a little beat, and then they said, "That's great. We're gonna go with it." And then it was me saying, "Now wait a second, we might not want to use this." It was too late; they were off to the races with it.
"The Mighty Sword," from Four MFs Playin' Tunes. Branford Marsalis, saxophone; Joey Calderazzo, piano; Eric Revis, bass; Justin Faulkner, drums.
Purchase: Amazon.com CD / Amazon MP3 / iTunes
RAZ: I want to ask about something that I've read you sort of allude to in previous interviews. It seems like you've been somewhat critical of jazz: Too much of it is too complex and too mathematical and even too inaccessible for newer audiences. Is that the case when you look at the world of jazz now?
MARSALIS: Put the records on and you tell me. You don't have to take my word for it. Just put the records on. It's essentially inauthentic when I listen to it. It doesn't sound like jazz, and I can find few situations with the exception of popular music where the music is so far removed from its roots that it's so unrecognizable from the original form.
RAZ: Do you consciously think about that when you make your music — that you want this to be music that lots of people can hear and listen to and appreciate?
MARSALIS: It's not lost on me that when you go to jazz clubs now there are no regular people in it. It's all basically musicians and avid jazz fans, and when you think anecdotally about the generation that played in the 1940s, '50s, '30s and half of the '60s, there were a lot of regular people there — just folks. But I think a combination of things — mostly the banning of conversation in jazz clubs — drove away a lot of people who liked the music casually. And it's the casual listener and the casual appreciation of the music when it was at its zenith.
Now that it's basically listening, only hard-core fans — the music is played with a level of specificity that alienates the casual listener, so it's not really about simplifying the music or demystifying the music.
I guess the easiest way to put it is: It's our job to know what we're playing; it's the audience's job to feel what we're playing. And if they have to know what you're playing to appreciate it, you fail.
RAZ: Do you feel that because of your prominence in the world of jazz you kind of have to do that — you have to pull newer listeners in, younger listeners in?
MARSALIS: I don't think you can actually control it, and I don't think that there's a mechanism that you can use to pull younger listeners in.
What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.
That took a while because I didn't even have anybody to even talk to me about it. I just kind of bumped into it listening to jazz, listening to Sonny Rollins and Coltrane and Stan Getz and guys like that, and then comparing it to the post-bop guys who played with a lot more — playing really fast songs and playing songs that had a complete aural predictability — and then listening to classical music and saying, "Why is this effective? Why is this not effective? Why do people cry when they hear this? Why do they not cry when they hear that?"
I kind of got to a place where I realized it's the sound that makes the emotional effect. It's not knowledge of the music, because when people are emotionally affected by songs, they can't tell you why; it just exists. So it took me a good 15 years to kind of be able to incorporate that philosophy into what I play.
RAZ: It's interesting to hear you say that, because you come from, of course, an incredibly famous family. It's a cliche at this point ,but the Marsalis family is often referred to as the First Family of Jazz, and I guess a lot of people would imagine, including me, that growing up, you and your brother Wynton and Jason and Delfeayo would sit around, and your dad, Ellis, would play the piano, and there you go.
MARSALIS: And at night we'd say, "Goodnight Grandpa. Goodnight John Boy." First of all, Jason's 17 years younger than me, so when he was walking, I was in college. I was in an R&B band my high school years — I didn't really play jazz at all. By the time Delfeayo decided he wanted to play the trombone and wanted to play jazz, he was 14, maybe, or 12 or 13, and by that time, I was a senior in high school, or out of high school and in college. So that little fireside jam session never really occurred.
RAZ: Isn't it amazing that four of Ellis' sons went into jazz and you all play different instruments?
MARSALIS: Well, that was an edict. No two sons were going to play the same instrument, because he thought that sibling rivalry was one of the stupidest things ever, and he wasn't going to have it in his household. One way to avoid it is to make sure there's no internal competition.
RAZ: I want to ask you about one of your mentors, Art Blakey — how did he shape who you became as a musician?
MARSALIS: He didn't really like me at first. It was actually to my benefit because he was completely, unsympathetically scathing in his rebukes. That was one of the reasons why I'm any good at all. Because he made me understand, first of all, that I knew absolutely nothing about jazz, and if I was going to learn, there were all of these things that I was going to have to acquire that I had no idea even existed.
That was probably the most important thing to happen to me. I was only in the band for eight months, but for those eight months it was constant challenge and constant conversation, and I cherish those eight months. He's seminal in the way I lead a band and try to develop the musicians in the band.
RAZ: Did you know that at the time that he was mentoring you, or did you just feel like he was torturing you?
MARSALIS: I grew up in the South, in New Orleans, where guys torture you all the time. So I didn't really grow up on the self-esteem campaign. When you were lousy at something, they told you you were lousy, and they told you how to fix it. As long as those things were happening, it was fine.
Sometimes he wouldn't tell you how to fix it — he'd hint at it, because the two elements that you have to have to become successful are cognition and intuition. Intuition does not come without cognition, and my cognitive abilities were very, very low at the time. Sometimes he'd say things very cryptically and leave to me to sort it out.
I know a lot of guys now — some of my students — they would have cried. They would have left 'cause there's a lot of different kind of guys out here now — very sensitive.
RAZ: You've taken on a very young drummer on this record — Justin Faulkner. You obviously are a mentor to him. Why did you take a chance on him?
MARSALIS: It wasn't a chance. It was a sure shot. I could tell that he played gospel music or R&B or something like that because his feeling was really, really — it had a real strong feel to it. He was playing very simply; he wasn't playing any overcomplicated thing.
All kids that age can play complicated stuff 'cause that's what kids do — they believe that that's the thing that they like to do. The thing that they're usually lacking in is the simple things. To hear him play a very simple blues with a not-very-good high school band and just keep time and not try to just use it as a vehicle to show off what he could do when he was clearly the most talented person in the band — I went, "Wow, that's the kind of guy I want to be around."
When Jeff "Tain" Watts left the band and Justin came in, I had a list of things I wanted him to learn; Eric Revis, our bassist, had a list of things that he wanted him to learn; and Joey [Calderazzo] had a list of things that he wanted him to learn. Over the span of two years, he basically learned everything that we asked him to learn. He's a student of the music now.
RAZ: I mean, he was just 20 years old when you recorded this album.
MARSALIS: Well, yeah, he's a player. One of the things that was funny about playing with young kids is that when you get older, you get a little slower, and you get a little less intense, but you still fashion yourself as the guy that you were. We would always make comments that we play with a lot of intensity as a band, and then Justin joins the band, and the first night he played we kind of looked at each other and said, "Oh. We thought we were playing with intensity."
RAZ: You moved to Durham, N.C., about a decade ago from New York, and obviously New York is widely seen as the center of jazz, international jazz. Why did you leave? Why did you decide to settle in Durham?
MARSALIS: The scene had changed a lot. There weren't a lot of musicians that I actually wanted to hear, because there wasn't anything I could actually learn in those situations. And it didn't make any sense for me to spend the amount of money that you have to spend to live in a city like New York when I could spend considerably less somewhere else and get a house with a backyard.
It just made a lot of sense, and Durham is a very vibrant, cultural little town. For instance, the big town in North Carolina is Charlotte, and I guarantee you more people read the New York Times in the Durham/Chapel Hill area than they do in Charlotte, even though they have the football team and the basketball team. The Research Triangle is a very cosmopolitan area.
RAZ: Did you want to be back in the South? I mean, you grew up in New Orleans.
MARSALIS: I did. I wanted to be back in the South. I'd had enough of New York living — I had enough of 5-year-olds calling adults by their first name.
The conversations are just very, very different. When I would play golf in New York and I'd meet new people, they would ask me if I was married, and they would ask me if I had kids, and then they asked me what I did for a living. The small metaphoric difference is down here they'd say, "Are you married?" Then they'd ask, "Well, what's your wife's name?"
That's very different in a place like New York, because it's the place to go for young people; it's for young, ambitious people. I became a man in New York. New York made me the musician that I am and the person that I am, so it's impossible for me to say I regret having lived there.
RAZ: Talk to me about what you're doing [as an artist-in-residence] at North Carolina Central. You're working with kids, with college students, and helping develop the next generation of jazz musicians.
MARSALIS: Not really, no. I'm making them mad more so than mentoring them. But North Carolina Central is a very different school. Most of the kids who go to that school are from very small towns in North Carolina. They're the best player in town, and one thing that they all have in common is that by the time they get to school, they've never heard a jazz record, and never heard a classical record, so they don't really have an understanding of how high the bar is until they show up. So that first semester is just culture shock for them.
And it's fine because I think what I'm really more interested in is being like a football coach, where a majority of the players on your team — regardless of the quality of the college football program — you are training them or using the skills that they have to process information that's going to help them later on in life in professions that are completely separate from football.
My goal is that 10 years from now some students come in, and I'll say, "Have you ever heard a jazz record?" And they'll say, "Yeah, my teacher played one for me when I was in high school," and the teacher is one of our students. I think we really have to find a way to gain advocacy for something other than marching band and popular music in high school programs. I think one of the ways we can change it is by having teachers who are armed with information that fights back against the general lack of understanding about what music does for students.
RAZ: When you first encounter those kids, what do you tell them they have to listen to?
MARSALIS: The first thing out of the gate is this Lester Young record called The Lester Young Trio, because Lester Young was a marvelous musician who influenced Charlie Parker, Dexter Gordon, a whole lot of other musicians. You can sing it, and it's simple, and it's not overly complicated.
They spend all their time learning solos from this Charlie Parker Omnibook or learning the John Coltrane solo. Lester Young has some of the simplest solos in the world, and these young guys and gals, they can't play them, not with authenticity. They can play the notes, but they can't make it sound like he made it sound. So I start simple. We wind up sitting on the same couple of songs for a whole semester.
RAZ: North Carolina Central is a historically black college, and I want to ask you about the young people who go into the profession of jazz. Increasingly, fewer and fewer young African-Americans are the studio musicians, the session musicians, and I wonder what you make of that.
MARSALIS: The studio scene in New York was never heavily populated with African-Americans. Black folks just weren't in there — you could count them. There isn't really a studio scene anymore. It's mostly just a keyboard player now if you listen to most of the commercials that are on; it's not live musicians anymore. But in the '80s, when we got to New York, there were virtually no blacks in the studio and musician scene at all.
The biggest issue that we have is that because of budget cuts — the first place they cut in New York City, for instance, was in music. The majority of the high schools and the public schools in NYC don't even have band programs. Hip-hop in a lot of ways is an outgrowth of a lack of instruments and a desire to play music, so we can't really fault the kids for that. These are the times we live in.
But, ultimately, I don't really care what color you are or where you come from, I just want you to play jazz and sound like a jazz musician. The only requirement for Jessye Norman when she sang opera was that it had to sound like opera. She didn't come in there singing opera like James Brown or Dinah Washington; she had to sound like a classical singer.
And whoever's playing with me, they have to sound like a jazz musician. The music is what it is, and the cultural imprint of the music exists. You have a lot of people who want to play jazz but want to ignore the cultural imprint of the music.
MARSALIS: The kids that you work with at NC Central, a lot of them probably coming to school having grown up listening to hip-hop music. How does it influence the kind of music they make or will make?
MARSALIS: It just depends. I would much rather have kids who spent their younger years playing pop music than going to jazz camp, because ultimately you're trying to play music in a fashion, like I said earlier, where you attract people who are casual listeners. So the music has to have a pulse.
A lot of modern jazz does not have — it has no pulse to it, which is why when people listen to it, it just sounds like flat-line music. You have to really understand the technical context of it to even get what makes it good.
When I talked to a lot of older people — when I was playing with Blakey, I would always just talk because my father said you need to talk to people and find out what they're thinking — their appreciation of jazz was very general. They didn't have any specific ideas. When they talked about Coltrane or they talked about Miles, they talked about how the music made them feel. They never once talked about a specific chord structure that they thought was great.
You can listen to live records and hear people talking, and in the middle of talking they suddenly react to a sound that one of the musicians made. "Ya! Play that!" So my ideas about the music were less about all of the specific things than the general things. I think one of Justin's great advantages was he clearly played R&B music growing up, and he played in the church, and that's a big deal. I like musicians who have done stuff like that because they understand how to communicate with laypeople.
RAZ: When people put this Four MFs Playin' Tunes on, what do you hope they will hear?
MARSALIS: When my kids were younger, one of the mothers of one of the kids in the school came up and said, "I heard that you only play jazz and classical music for [your] daughters." And it was clear that she only played pop music for her kids. And I said "Well, yeah." And she said "Why?" I said, "When you listen to a song like a Raffi song — a song about alligators or kangaroos or whatever it is — it's about that, it's about kangaroos. But, if you play Eine Kleine Nachtmusik for your kid, the music is whatever your kid wants it to be about. It's instrumental music. The kids' imaginations can run wild."
I used to watch my kids hear this music and say, "This music reminds me of ..." and they would basically tell stories. So the stories that the music tells are actually personal to the listener. I don't want the listener to come up with the same conclusions that I have come up with because they're not me, they haven't lived my life. They don't know nearly as much music as I do.
RAZ: Do you listen to your own music?
MARSALIS: No, it's counterproductive. I'm trying to get better, I'm not trying to stand still. I just picked up a cool version of Handel's opera Julius Caesar, and I'm trying to ingest that.
RAZ: Do you ever get feedback from your dad or your brothers?
MARSALIS: Not really. With my brothers, if they don't like it, that's when I hear from them. But usually they don't call to say, "Man, that's amazing! That's killing." Cause we don't really talk about music when we talk. When I talk to my mom, she says, "How's the family? How are you feeling? How are you doing? Take care of yourself. Eat more matzo ball soup." That's where we are.
And my father's just like, "Yeah, what's happening out there?" Not as much as when I was in New York. He was always excited when I was in New York because he always wanted to move out there and didn't. So whenever I would meet somebody, I would always — especially with digital technology when we got older — we did a gig once with Oscar Peterson, and I called, and he talked to Oscar for 15 minutes and that made him very excited. He was just over the moon with that one. But other than that, when we do talk, we don't really talk about music that much.
RAZ: Do you think that you guys would make a record with all five of you on it again?
MARSALIS: I doubt it. We all have very different sounds and directions that we're going in the music. When you start getting all of these guys together, then at some point you have to kind of push aside your direction because you can't have five people going in different directions at the same time. Everybody has to be on the same page, so what we wind up doing is deferring to my dad's sound and my dad's style, and we'll do that for a little while. So it could happen, but it's unlikely right now.
RAZ: You have two kids — do you like any of the pop music that they listen to?
MARSALIS: No, not really. But it's for them, it's not for me. I'm always leery of people my age singing along with 11-year-old girls' pop songs. I listened to a lot more popular music, clearly, when I was younger. But I don't really use music as a template for my life — I don't use it to reminisce.
Songs aren't really a soundtrack to my life — songs have more value to me than that. It's not to diminish the value to other people, but when I hear songs from the '70s, there's songs that I like and then there's songs that I don't like.
I went to a Jonas Brothers concert, and I was amazed; I loved it. The piano player, Nick Jonas, he's really, really good. There's not a lot of it I like. My kids listen to it, and I tend to go in the other room when it's on, but I am 51 years old. I don't think that when they were crafting these songs they had my old behind in mind, so it's OK with me.
And if you're just joining us, this is WEEKENDS on ALL THINGS CONSIDERED from NPR News. I'm Guy Raz. And it's time now for music.
RAZ: The oldest son in what's considered the first family of American jazz released a new album this week. Legendary saxophonist Branford Marsalis has been putting out acclaimed albums for almost three decades, but he says when it comes to naming them, he usually has trouble.
BRANFORD MARSALIS: My managers call me and say we're time sensitive here. We need a title now. And I usually say something incredibly ridiculous or controversial and they say that's the dumbest thing I ever heard.
RAZ: The name he threw out this time, "Four MFs Playin' Tunes." After all, he says, that's what this album is.
MARSALIS: It's just about four guys on a stage playing tunes and that the tune is more important than any individual solo or any idea of genius or innovation, all these false choices that I hear in the jazz world. And when my manager said we need a title, I kind of threw that out there, figuring he'd say that's the dumbest thing. You're not going to do it.
So when I said it, there was a little beat, and they said, man, that's great. We're going to go with that. And then it was me saying, now, wait a second. We might not want to use this. And it was too late. They were off to the races with it. They were in like crazy people with it. And there it is.
RAZ: And it really is just four guys. I mean...
MARSALIS: For lack of a better phrase, four guys.
RAZ: For lack of a...
MARSALIS: Four guys.
RAZ: Four guys just playing music and almost as if it's a band of equals.
MARSALIS: Well, all bands are bands of equals, if they're bands. The things that made jazz magical in the early years, musicians actually played together, not just at the same time. You're finding fewer and fewer of those guys. You find guys that come off the stage and say stuff like, I really liked my solo in the third song. What do you think?
In a band situation, it has to be a group of equals, regardless of age or anything else.
RAZ: You've taken on a very young drummer who is on this record, Justin Faulkner, and a lot has been written about him. First of all, why did you take a chance on him?
MARSALIS: It wasn't a chance. It was a sure shot. There was no chance at all. There were things that he had that I didn't even hear some current New York drummers have. I could tell that he played gospel music or R&B or something like that because his feeling was really, really - it had a real strong feel to it. And he was playing very simply. He wasn't playing any overly complicated things.
So to hear him play a very simple blues with a very not good high school band and just keep time and not try to use it as a vehicle to show off what he could do when he was clearly the most talented person in the band, I kind of went, wow, yeah, that's the kind of guy I want to be around. And over a span of two years, he basically learned everything that we asked him to learn.
RAZ: That's incredible to hear him on this record, particularly on the song "Whiplash" where you hear that moment.
RAZ: How many arms does this guy have?
MARSALIS: He's a player. He's a player. And one of the things that was funny about playing with the young kids is that when you get older, you get a little slower and you get a little less intense. But you still fashion yourself as the guy that you were. So we would always make comments that we played with a lot of intensity. And then Justin joins the band, and the first night he played, we kind of looked at each other and said: Oh, we thought we were playing with intensity.
MARSALIS: So it was really great to have a young kid in the band because he brought that young kid energy. It kind of perked the whole band up because we had gotten very comfortable with each other, like a marriage. And we were settled in, and we were playing what we played. But he was a big jolt of caffeine to the system from the moment he joined the band.
RAZ: I'm speaking with Branford Marsalis. His new record with his quartet is called "Four MFs Playin' Tunes." What was amazing about this record to me is it was recorded on two days - October 11th and 12th last year - and then mixed in, like, five days. I mean, that's - that is lightning fast. You guys recorded this in two days.
MARSALIS: Well, a lot of musicians, due to financial realities, they record records in one day. But what they do that we don't do is they rehearse the music for about six or seven days before they record it. But my philosophy is that the preparation is done when you play gigs. When you play concerts, you're preparing for this moment. So either we're good musicians or we're not good musicians, because these songs aren't like concertos.
There's not a whole bunch of notes you've got to practice. The songs are very simply stated. And either we can play or we can't play. So the element of surprise, I think, is very, very important in the songs and in the band concept.
RAZ: Branford Marsalis, when people put this CD on, what do you hope they will hear on this record?
MARSALIS: I guess the best way to explain the question is to relay a story. When my kids were younger, one of the mothers of one of the kids in the school came up and said to me: I heard that you only play jazz and classical music for your daughters. And I said: Well, yeah. And she says: Well, why? I said: Well, I'm not stupid. They're going to listen to pop music eventually - which is all they listen to right now, actually - but I just want them to have a well-rounded template for when they get older. And she had her defense of what it is that she makes her kid listen to. And I said: Well, when you listen to a song like a Raffi song, the kids' song...
RAZ: Listened to him this morning, by the way, in the kitchen with my two kids.
MARSALIS: Very good. Very good. So when you listen to a song and the song is about alligators or kangaroos or whatever it is, it's about that. That's what it's about. It's about kangaroos. But if you play Eine kleine Nachtmusik for your kid, the music is whatever your kid wants it to be about. It's instrumental music. The kids' imaginations can run wild.
And I used to watch my kids hear this music and say, this music reminds me of - and they would basically tell stories. So the stories that the music tells are actually personal to the listener. I don't want the listener to come up with the same conclusions that I have come up with because they're not me. They haven't lived my life. They don't know nearly as much music as I do. I want them to hear the music and find things that are relevant to their own personal experience in the songs.
RAZ: This record is whatever anybody wants it to be.
MARSALIS: Whatever - I think any record is whatever you want it to be, particularly instrumental music because we don't have lyrics that tell us what the songs are about. So we just carve out our little sliver of reality and, you know, we - any time one person gets it, that's an awesome thing.
RAZ: Do you listen to your own music?
MARSALIS: No. It's counterproductive. I'm trying to get better. I'm not trying to stand still.
RAZ: So what happens when you release this record? You just...
MARSALIS: Well, by the time I release a record, I've already heard it 20 times. So by the time that's done, I don't actually want to hear it anymore. But there have been times in the last few months when I've actually gone back and listened to this record. And it's a departure for me, because I usually don't go back and revisit it. But I really do like this record. And it's a very, very different sound for us than what we're used to.
RAZ: That's jazz musician Branford Marsalis. His quartet's new record is called "Four MFs Playin' Tunes." Branford Marsalis, thank you so much.
MARSALIS: Thanks, Guy. Take care, man.
RAZ: And for Saturday, that's WEEKENDS on ALL THINGS CONSIDERED from NPR News. I'm Guy Raz. Check out our weekly podcast. Search for WEEKENDS on ALL THINGS CONSIDERED on iTunes or go to npr.org/weekendatc. We're back with a whole new hour of radio tomorrow. Until then, thanks for listening and have a great night. Transcript provided by NPR, Copyright NPR.


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You don't have to lose all the hard work you've put into populating your shopping cart when you step up to 3dcart.
Over 10 years you get to do a lot of these things and we have perfected a method of consistent quality with zero data loss. Migrating a cart into 3dcart is a quick process thanks to our dedicated experts which will ensure your valuable data will be carried over intact.
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David Holt teaches you everything you need in one inexpensive set.
David Holt has long been considered one of the finest players and teachers of old-time clawhammer banjo. He learned his craft directly from some of the original masters-Fred Cockerham, Kyle Creed, Tommy Jarrell, and other legendary players. David covers the fundamentals of clawhammer playing and provides an overview of the specific nuances that will make your renditions accurate and true to the traditional old-time sound. You'll learn important right-hand techniques such as single- and double-thumbing, "continuous" picking, double-thumb rolls and the all-important clicking sound that comes from down-picking the strings with just the right-hand position.
- 60- and 55-minute DVDs with tab
Make your new beginning in music. Click or call today!


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Order your tickets now and save time in the line! Click here for online ticket sales.
Driving to the event? Order your parking passes and save time! Click here.
Balloon Fiesta is very proud of our 2011 field of Special Shape balloons and we wanted to share with everyone, enjoy!
Take a look at our Special Shapes archives: 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016


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Look at you all bitter...ukcanuck wrote:
Since I am out of my depth and you are the self appointed know it all about NHL finances...
perhaps you can explain how all of this would not help Katz bottom line and how it would appear in a PA audit and more importantly, did you notice that Katz refused a PUBLIC hearing on the matter.
Katz want's his team to be in the best financial situation possible.
Much like the players have every right to get the best deal they can, so does the owner of the Edmonton Oilers.
And no he doesn't have to disclose his financials to anyone other then the tax man, his bankers and the NHLPA.


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(Montalk.net) True music is measured by the degree to which its melody, harmony, rhythm, and texture in and of themselves evoke an objective response in us. For example, a minor chord sounds sad without us ever needing to be conditioned to feel that. Infants can distinguish between harmonious and dissonant chords well before their enculturation. A beat can make us clap or tap our foot without having to be taught to do so, as seen in babies who bend their knees and bounce to the music instinctively. Similarly, an odd pattern of strange sounds can make us tilt our heads in curiosity.
(NewsCenter.LBL.gov) An elegantly simple experiment with floating particles self-assembling in response to sound waves has provided a new framework for studying how seemingly lifelike behaviors emerge in response to external forces. Scientists at the Department of Energy's Lawrence Berkeley National Laboratory (Berkeley Lab) demonstrated how particles, floating on top of a glycerin-water solution, synchronize in response to acoustic waves blasted from a computer speaker.
(PreventDisease.com) The sun has got his hat on, our moods feel lighter and we are gripped by a desire to soak up some solar rays. But no, we keep being told: the threat of skin cancer makes this potentially lethal. Now, however, scientists are discovering a positive side to sun-worshipping. Getting a good dose of sunshine is statistically going to make us live longer, healthier and happier lives.
(TheSpiritScience.net) All around the world you find various kinds of energy healing practitioners practicing a smorgasbord of disciplines. So what are the different kinds of energy healing & which one is right for you? Unlike modern medicine, energy healing aims to release the symptoms by curing the cause of the ailment – whether that cause is physical, emotional, mental or spiritual. What's more, energy healing work can be applied to any area of your life, from health to finances to relationships to emotions; you name it and the issue or challenge can be cleared permanently from your life.
In the following short video, an electrical and electronics engineer explains and shows how his "free" energy generator works. He refers to his invention as the zero point generator and claims that it can harness the unlimited energy within space. His free energy generator is conveniently small in size and has a simple but interesting design. However, does it actually work? Based on the content of the video, there is not enough information to determine if it is a working free energy generator. However, the video is very interesting to watch.
(GreenMedInfo.com) What if water, plain and simple, was the most critically lacking substance for energy and health promotion in the modern lifestyle? Some years ago, I read the late Dr. Fereydoon Batmanghelidj's marvelous book, Your Body's Many Cries for Water, first published in 1992 and more recently updated in 2008. Here this Iranian-American physician made and makes a strong case that chronic low grade and usually unrecognized dehydration affects most of us in the West, attuned as we are to avoiding water as a beverage and too often choosing dehydrating caffeinated and sweetened drinks that only contribute to the problem. After all, caffeine is a well-known diuretic, as is sugar.
In the early 1970s, the mainstream media in the United States admitted on TV that vaccines were ineffective and contained a cancer-causing contaminant. Many conspiracy truth seekers have said that vaccines are some of the main causes of cancer and autism. It looks like they may be right. Watch the following short video and decide for yourself whether vaccines are health hazards or not.
Herbal medicine, also known as herbalism or botanical medicine, is a medical system based on the use of plants or plant extracts that may be eaten or applied to the skin. Since ancient times, herbal medicine has been used by many different cultures throughout the world to treat illness and to assist bodily functions. While herbal medicine is not a licensed profession in the United States, herbal remedies in the form of extracts, tinctures, capsules and tablets as well as teas may be recommended by healthcare practitioners of many different disciplines as a practical way to address a wide variety of medical conditions.
(TheDailySheeple.com) You never realize how dependent you are to the grid until the lights go out for a long period of time. Although many of us have batteries and flashlights safely stored for a rainy day, there may be a time during an extended emergency where you run out of your battery stash and have to improvise.
(CoreSpirit.com) Every human being has an energy field around their body. Some people call it the aura, or the luminous energy field, or simply the human energy field. The purpose of this article is not only to prove the existence of the human energy field, but also to explore the function of our DNA, the interaction between DNA and the unified field, and the influence of the human energy field on that relationship.
(ConsciousLifestyleMag.com) There are seven chakras that run along the central axis of the spine in a channel called the sushumna nadi. In Sanskrit, "chakra" means "wheel" — the chakras are, essentially, wheels of our body's energy that correlate to certain physical, mental and emotional attributes. They start at the base of the spine and run vertically all the way to the crown of the head. Chakras are considered part of yogic subtle anatomy.
Read More
(PreventDisease.com) The Cannabis flower is a special one for many reasons. Not only for the relaxed, joyful, euphoric and creative sensations it brings, but for how it specifically expands our consciousness. When the user (i.e. receiver) is tuned into the cannabis frequency, that is, tuned into the plant's intention aligned with our own, awareness often grows into areas of the unknown which instantly changes our vibration.
As of May 17, 2017, my most informative and empowering work is now available as a Kindle ebook. It is called Word Magic: The Powers & Occult Definitions of Words, a thought-provoking and magical book that explores the powers of words and how words manifest reality and shape human culture. The enlightening information in this book took many years of researching and meditating to find. Furthermore, it took countless hours of contemplating my thoughts to write and organize the information into knowledge that readers can easily "innerstand".
(TheMindUnleashed.com) Dr. Royal Rife's machine developed in the 1930s was a pioneering front-runner for today's version of energetic medicine. It isn't as though this technology wasn't used in other forms in our distant past. The Vedic scriptures, the teachings of the ancient Pythagoreans, and numerous additional cultures detail the benefits of sympathetic resonance without really being able to quantify how it works scientifically. Rife did. He laid it all out in relatively simple terms for those who understand sound technology.
The following video shows a news outlet in Thailand interviewing a Thai inventor about his motorcycle that apparently runs on "free" energy. This motorcycle is powered by a magnetic motor. I could not find an English version of the video. However, I did find a video in English that talks about a magnetic motor similar to the one used in the free energy motorcycle. Is the motor of this motorcycle truly running on free energy? Watch the video and decide for yourself.


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[1] Ford Motor Company's policy is one of continuous product development. Therefore, Ford reserves the right to change the specifications and colors of any models and items shown in this publication at any time. It is important to check with your local Ford Dealer for the latest information on models available for order in your market.
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South Carolina is on one heck of a roll when it comes to tires.
The Palmetto State in the fourth quarter of 2013 elbowed aside Oklahoma as the nation's leading tire producer, churning out 89,000 a day compared to the Sooner State's 88,000 a day, according to estimates by Tire Business magazine.
It is also expanding its lead as the export king – last year shipping 30 percent of the nation's overseas market, three times as many tires as its nearest competitor, Ohio.
"South Carolina is No. 1," Dave Zielasko, the magazine's publisher and editor-in-chief, said. "And its not surprising. South Carolina has really been aggressive in attracting these factories."
Monday's announcement of a new Giti Tires plant in Chester brings to $3.5 billion the amount of investment tire companies have pumped into the state since 2011. Those new plants and expansions of existing ones are expected to create 5,150 jobs by the end of this decade. That includes the $560 million investment announced Monday by the Singapore tire manufacturer that is expected to produce 1,700 jobs.
The state's climb to the top of the tire heap is part of an overall rebirth of manufacturing in South Carolina – highlighted by Boeing's 787 Dreamliner assembly plant in North Charleston – that has led the state's recovery from the worst recession since the Great Depression.
Unemployment has dropped from a high of nearly 11.9 percent in 2009 to 5.3 percent in April.
Lewis Gossett, chief executive of the S.C. Manufacturers Alliance, said industry hasn't seen such a boost since the administration of the late Gov. Carroll Campbell in the early 1990s, which launched the state's automotive manufacturing cluster by landing BMW.
"South Carolina is back in the game," he said.
The state's tire history began in 1975, when Michelin started production in Greenville. The French company has since expanded to nine plants in the Midlands and the Upstate and has invested more than $5 billion here. It has about 8,900 employees.
Michelin's latest addition in the Palmetto State is a $750 million plant in Anderson County, which manufactures 13-foot-tall tires for large earth-moving equipment used in the mining industry.
The launch of that production line pushed South Carolina past Oklahoma. And most of those tires are shipped overseas through the Port of Charleston.
The port, said S.C. Secretary of Commerce Bobby Hitt, is a major key to the industry's success and growth here.
"We don't grow rubber trees here so a whole lot of essential ingredients have to come in by ship," he said.
The state's technical school system also has helped Michelin and subsequent companies take root and grow, as well as the state's low taxes, anti-union stance and pro-business political bent.
"There is a positive attitude here," Michelin spokesman Tony Fouladpour said. "It's a good place to do business in general."
Michelin's success – coupled with BMW in Greer – created an automotive cluster the state's economic development teams were able to sell. It caught of attention of other major tire manufacturers like Bridgestone and Continental.
"Michelin set the pace," Hitt said.
Bridgestone opened its first plant in Aiken County in 1999 during the administration of then-Gov. David Beasley.
In 2011, the Japanese company announced plans to invest $1.2 billion in its Graniteville operations, including a new off-road radial tire plant and expansion of an existing light-truck and passenger tire plant. It remains the largest single monetary investment in the state's history.
The new plant will bring 850 jobs when it reaches full capacity in 2015, bringing Bridgestone's total number of jobs in the state to more than 1,800.
The same year Bridgestone announced its latest investment, German tire maker Continental said it would build a $500 million tire plant that would employ about 1,600 workers.
Craig Baartman, Continental's Sumter plant project manager, said at the time that the state's lucrative use of incentives was a big factor in the company coming to the state. The tire maker also had been heavily courted by other Southeastern states, such as neighboring North Carolina.
"It's all of that," Tire Business publisher Zielasko said. "It's a non-union state. There are a lot of incentives. All of that makes South Carolina a reasonable choice for these companies."
But Gossett put a lot of credit for the boom in tire manufacturing with Hitt and Gov. Nikki Haley. They have aggressively pursued tire companies and have led the charge for new manufacturing in general, he said.
"They are really putting on the full-court press, and you are seeing the result," he said. "You can have good (business) conditions, but if you don't have somebody out there closing deals, nothing happens."


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L'Auberge Del Mar Named #3 in San Diego
L'Auberge Del Mar, by Destination Hotels & Resorts, was ranked the #3 Best Hotel in San Diego on the U.S. News & World Report's Best Hotel rankings published today: http://travel.usnews.com/Hotels/San_Diego_CA/. The hotel was also included on the top hotels in California list. Hotel rankings were based on an unbiased analysis of awards, expert recommendations and user ratings. Out of 36 luxury hotels, 11 made the U.S. News list of the Best Hotels in San Diego. North County properties took the top three spots on the San Diego list with The Grand Del Mar landing the top spot and The Lodge at Torrey Pines ranked second.
About L'Auberge Del Mar
Located in the heart of Southern California's most picturesque coastal village of Del Mar, L'Auberge Del Mar, by Destination Hotels & Resorts, overlooks the Pacific Ocean and offers a resort experience reminiscent of a private, coastal estate. This historic seaside hotel offers 120 guest rooms and suites, refreshing dining options, a cheerful and cozy spa, a private path to the beach and peaceful pool area. The award-winning, signature restaurant, KITCHEN 1540, blends energy and intrigue with a fresh, lively atmosphere. The restaurant's extensive offerings meld the classic and the unexpected, making KITCHEN 1540 something one simply has to try when dining in DelMar. For more information, please visit www.laubergedelmar.com or www.destinationhotels.com
About Destination Hotels & Resorts
Destination Hotels & Resorts is an authentic collection of luxury and upscale independent hotels and resorts across North America. Offering enriching, locally-inspired experiences from alpine adventures and stunning beachfronts to urban landmarks, each property reflects the natural surroundings and culture of its distinctive locale. With more than 40 properties in premier travel destinations, including Aspen, Chicago, Denver, Lake Tahoe, Los Angeles, Maui, Miami, New Orleans, Phoenix, San Antonio, San Diego, Santa Fe, Seattle, Vail and Washington D.C., the award-winning portfolio features renowned golf courses, indigenous spas, and exceptional culinary venues. For more information on Destination Hotels & Resorts, visit www.destinationhotels.com. Follow us on Twitter: @Destination. Like us on Facebook: DestinationHotels.


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Rik Ferguson, Vice President Security Research at Trend Micro, is one of the leading experts in information security. He is a Special Advisor to Europol, an advisor to the EU Safer Internet Forum, project leader at the International Cyber Security Prevention Alliance (ICSPA), and Vice Chair of the Centre for Strategic Cyberspace & Security Science. In April 2011 Rik was inducted into the Infosecurity Hall of Fame
Remaining a part of commercial and government projects for Trend Micro, Rik tries to ensure his views and areas of research reflect the security concerns as experienced
by enterprises and individuals as they come to grips with new challenges and technologies.
With over twenty years experience in information security, Rik has been with Trend Micro since 2007. Prior to assuming his current role he served as Security Infrastructure Specialist at EDS where he led the security design work for government projects related to justice and law enforcement and as Senior Product Engineer at McAfee focused on network security, intrusion prevention, encryption and content filtering.


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Today's hosts are Jason Kridner, Gerald Coley and Jeffery Osier-Mixon. Below are the show note links.
Links to the recordings
To provide questions or suggestions:
- Call +1-713-234-0535 or
- visit the BeagleCast suggestions form
Jeff and Yocto
- Jeff at a conference near the Columbia river gorge
- Jeff now the Yocto community manager
- Yocto includes Poky build tools, is multiplatform and has a BeagleBoard BSP
- Yocto gets many new partners
- What does it mean to join with OpenEmbedded?
- OE and Gentoo share roots
- Arago Project
- Koen working on the oe-core
- eLinux wiki summary of embedded Linux projects
- Wikis "are like bread" (good when fresh)
- BeagleBoard.org and Google Summer of Code
- oe-core status update and Yocto birds of a feather at ELC week of April 10
SD card discussion
- Amazon selling consumer friendly packaging
- SD card performance shootout needed to measure controller performance
BeagleBoard and electronics hobbyists of all ages
- Cloud9 IDE on BeagleBoard
- BeagleBoard Trainer-xM
- Contributing upstream patches, such as uEnv.txt patch in u-boot
- The move from ttyS2 to ttyO2
- linux-omap kernel patchwork
- Linaro status
- Linux news
- Linux input events in Perl
- Student Robotics has a nice BeagleBoard based robot design and real student roots
- xM now available from Tenet Technetronics
- Koen made BeagleBoard coasters with his MakerBot
- Adobe Flash10.1 with DSP H264
- PIXHAWK Gumstix Camera
- BeagleWall with interview of Roger Monk
The theme music for BeagleCast was created and provided by Alasdair Drake.


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© ® The Nobel Foundation
IPCC honoured with the 2007 Nobel Peace Prize
Phone: +41-22-730-8208/84 e-mail:
Global climate change would disturb the Earth's physical systems (e.g.,
weather patterns) and ecosystems (e.g., disease vector habitats); these disturbances,
in turn, would pose direct and indirect risks to human health. Direct risks
involve climatic factors that impinge directly on human biology. Indirect risks
do not entail direct causal connections between climatic factors and human biology
(McMichael, 1996; McMichael et al., 1996). Health care will significantly
help people to adapt to climate change. Unfortunately, not everyone has adequate
health care; for example, in 1996, nearly 18% of Americans did not have access
to a doctor's office, clinic, health center, or other source of health
advice or treatment (Miller et al., 2000).
In a warmer world, heat waves are expected to become more frequent and severe,
with cold waves becoming less frequent (Kattenberg et al., 1996). Increased
frequency and severity of heat waves may lead to an increase in illness and
death, particularly among the young (CDC, 1993), the elderly (Ramlow and Kuller,
1990; CDC, 1993; Semenza, 1999; Patz et al., 2000), the poor (Schuman, 1972;
Applegate et al., 1981), the frail and the ill, and those who live in the top
floors of apartment buildings and lack access to air conditioning (Patz et al.,
2000), especially in large urban areas (CDC, 1989; Grant, 1991; Canadian Public
Health Association, 1992; Kalkstein, 1993, 1995; Kalkstein and Smoyer, 1993a,b;
Canadian Global Change Program, 1995; Environment Canada, 1995; Guidotti, 1996;
Kalkstein et al., 1996a,b; Tavares, 1996; Last et al., 1998). Other vulnerable
people are those who take medications that affect the body's thermoregulatory
ability (Marzuk et al., 1998; Patz et al., 2000).
Heat waves affect existing medical problems, not just those related to problems
of the respiratory or cardiovascular systems (Canadian Global Change Program,
1995). Morbiditysuch as heat exhaustion, heat cramps, heat syncope or
fainting, and heat rashalso results from heat waves (Shriner and Street,
1998; Patz et al., 2000).
In the United States, populations in northeastern and midwestern cities may
experience the greatest number of heat-related illnesses and deaths in response
to increased summer temperatures (Patz et al., 2000). Recent episodes include
the heat-related deaths of 118 persons in Philadelphia in 1993 (CDC, 1993),
91 persons in Milwaukee in 1995, and 726 persons in Chicago in 1995 (CDC, 1995;
Phelps, 1996; Semenza et al., 1996, 1999). This follows several episodes in
the 1980s, particularly in 1980, 1983, and 1988 (CDC, 1995).
In Canada, urbanized areas in southeastern Ontario and southern Quebec could
be "impacted very negatively" by warmer temperatures. An "average"
summer in 2050 could result in 240-1,140 additional heat-related deaths
yr-1 in Montreal, 230-1,220 in Toronto, and 80-500 in Ottawa, assuming
no acclimatization (Kalkstein and Smoyer, 1993b). The significance of these
estimates is demonstrated by the fact that a total of only 183 Canadians died
as a result of excessive heat for the years 1965-1992 (Duncan et al., 1998).
Heat-related illness and death are largely preventable through behavioral adaptations,
such as use of air conditioners and increased intake of fluids. In the United
States, use of air conditioning is expected to become nearly universal by the
year 2050 (U.S. Census Bureau, 1997a,b). Other adaptive measures include development
of community-wide heat emergency plans, improved heat warning systems, and better
heat-related illness management plans (Patz et al., 2000).
Finally, it is important to note that in a warmer world, cold waves are expected
to become less frequent. For example, in Saskatoon, Canada, the number of January
days with temperature below -35°C could decrease from the current average
of 3 days yr-1 to 1 day every 4 years (Hengeveld, 1995). Currently, more people
die of cold exposure than heat waves. Therefore, an expected decrease in cold
waves is likely to have a beneficial effecta decrease in weather-related
It has been postulated that there will be increases in the frequency and severity
of extreme events, which may result in an increase in deaths, injuries, toxic
contamination or ingestion, infectious diseases, and stress-related disorders,
as well as other adverse health effects associated with social disruption, environmentally
forced migration, and settlement in poorer urban areas (McMichael et al., 1996).
Adaptive measures to counter the health impacts of extreme events include improved
building codes, disaster policies, warning systems, evacuation plans, and disaster
relief (Noji, 1997).
There is some evidence of increases in the intensity or frequency of some extreme
events at regional scales throughout the 20th century. Frequencies of heavy
precipitation events have been increasing in the United States and southern
Canada (Easterling et al., 2000). Unfortunately, it is difficult to predict
where these storms will occur and to identify vulnerable populations. In 1997,
severe storms caused 600 deaths and 3,799 reported injuries in the United States.
Patients with specific allergies to grass pollen are at risk of thunderstorm-related
asthma (Venables et al., 1994; Celenza et al., 1996; Hajat et
al., 1997; Knox et al., 1997; Suphioglu, 1998). Thunderstorm-associated
asthma epidemics in Melbourne, Australia (1987/1989), and London, England (1994),
placed considerable demands on the health system. Several London health departments
ran out of drugs, equipment, and doctors (Davidson et al., 1996). It
is unclear if this situation could arise in North America.
Table of contents
IPCC Homepage


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A renifleur is someone, can be male or female, who gets sexual pleasure from smells. This can be triggered by a particular smell which is why males and females can be more sexually receptive when a certain perfume or after shave is used. In very rare cases it can be triggered by ordinary, everyday, common smells which means that the subject must be kept in a sterile, odour-free environment.
Have you smelled the stench coming off Malcolm? He's enough to make the most ardent renifleur get nose plugs!
by Croatalin December 31, 2013
buy the domain for your cat vlog


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OTTAWA, Ill. — U.S. Congressman Adam Kinzinger will host a 16th District open house Saturday, Jan. 19, in Ottawa.
The open house will be held from 1 p.m. to 2:30 p.m. at Kinzinger's 16th Congressional District Office, 628 Columbus St., Suite 507, Ottawa. The programs begin at 1:30 p.m.
Stay connected with Congressman Kinzinger via Facebook, Twitter and YouTube.


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LeTourneau's faculty and staff do more than say they are Christians; they live a lifestyle that encourages students to know Jesus Christ. Our faculty members are experts in their fields, who form and seek to develop strong, personal relationships with their students.
LETU Engineering students set the Guinness World Record for most 3D printers operating in one room simultaneously. The best part? Each 3D printer was built by a freshman engineering student.
LETU Teacher Education students have earned the title of Texas Student Teacher of the Year five times, with back-to-back wins in 2013 and 2014 by Christian Driver and Carly Robinson.
Recent Winners include:
In the past decade, LETU has produced more classroom teachers than any other private university in the state of Texas. Our students have a 99 percent pass rate on the Texas state-mandated exam for teacher certification.
Partnerships with Major Airlines
LETU's Aviation & Aeronautical Science Program has teamed up with Envoy and SkyWest Airlines to offer qualifying Professional Flight students, putting them on the fast-track to rewarding careers in commercial aviation.
Loening Trophy Winners
LETU's Aviation was named the best all-around college aviation program in the nation when it was awarded the Loening Trophy, the rarest of all collegiate aviation honors.
Last year, LETU Computer Science majors Micah Shennum, Terry Penner, and Daniel Rothfus traveled to Moscow, Russia to compete in the International Collegiate Programming Competition World Finals.
The ICPC doesn't distinguish between schools with undergraduate and graduate programs, which added an extra challenge for LETU's all-undergraduate team.
"LETU is the only undergraduate school in our region that has sent teams to the World Finals since 1993, when a team from Abilene Christian University was invited," said Dr. Brent Baas, the team's faculty sponsor.
LeTourneau University is consistently ranked in the
Top Tier of Master's/Comprehensive Universities among
"America's Best Colleges" by U.S. News and World Report.
Our average entering SAT scores are over 150 points higher than the national average.
Our grads get jobs. Our three-year average placement rate for all LETU graduates is 89 percent, with even higher rates for aeronautical science, engineering and business students.


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The purpose of this course is to provide an introduction to the cross‑national study of public policies in the developed democracies of North America, Europe, and Australasia. Substantively, the course will focus on two questions (and arguably ones fundamentally important to the study of politics, economics, and society). First, we will examine the question of why national governments of the affluent, market-oriented democracies so often respond quite differently to what are in essence similar policy problems (e.g., caring for the elderly, providing health care, fighting unemployment and promoting economic growth, protecting consumers and the environment). Second, we will seek to understand why some countries are apparently much more successful than others in tackling certain policy problems. In considering these fundamental questions, we will focus to an extent on the political roots of differences in policies and performance: how and why does the power of labor, business, and other organized interests shape the development of public policies; how and why do political institutions influence the character of national policy; how and why do ideas, ideology, and cultural factors influence the nature of government intervention in society and economy. Second, we will devote some time to analyzing how fundamental changes in domestic social and economic structure (e.g., the aging crisis, the emergence of the postindustrial economy) and globalization of the economy influence contemporary patterns of public policy.
Because of the vast range of topics that could be covered in a course such as this, two limitations on the subject matter will be imposed. First, we will focus primarily on the rich democracies (North America, Western Europe, Japan, Australia and New Zealand). We will consider the less developed or newly emergent capitalist democracies (e.g., Poland , Hungary , the Czech Republic ) in passing. Second, we will focus largely on the domestic policies -- social, economic, and environmental -- of the industrialized democracies because of the large number of extant courses that focus on foreign, defense, and national security‑related issues. However, we will brush against the defense and national security areas when considering such topics as "guns‑versus‑butter" tradeoffs in national policy making. Most important, we will systematically consider (as noted above) the impacts of the international economy the process of regionalization (e.g., through the European Union, NAFTA) and globalization of markets on domestic politics and social and economic policies.
As to specifics, we will concentrate on the following topics:
Part I: Introduction: Markets or Governments, or Why Do We Have Governments in the First Place?
Part II: The Social Security and Health of Nations: Development and Crisis of the Social Welfare State
Part III: Retrenching the Welfare State: Can Social Programs be Cut?
Part IV: Human Capital: An Overview of Education Policy in Advanced Democracies.
Part V: The Politics of the Economy: Growth and Jobs.
Part VI: Globalization and Domestic Policies: Diminished Democracy?
A large portion of the courses reading assignments will come from four books. These are available for purchase at the university bookstore. The remainder of the readings will come largely in the form of class handout material (most from the book-in-progress, Duane Swank, Public Policy in Developed Democracies: Achieving Equity and Efficiency in a Global Economy)
Jessica Adolino and Charles Blake. Comparing Public Policies: Issues and Choices in Six Industrialized Countries. CQ Press, 2001.
Laurene Graig. Health of Nations: An International Perspective on US Health Care Reform. (3rd Edition). CQ Press, 1999.
Paul Pierson, Dismantling the Welfare State: Reagan, Thatcher, and the Politics of Retrenchment. New York: Cambridge University Press, 1994.
David Vogel. Trading Up: Consumer and Environmental Regulation in a Global Economy. Harvard University Press, 1995.
Grades will be based on three exams two hourly exams and a final and a research paper. Each of the exams will consist of a series of essay questions covering required readings and class materials; you will be asked to select three questions for the hourly exams and four
POSC141: Public Policy in Industrialized Democracies Duane Swank
questions for the final from a larger list of questions. (The final exam will stress material since the second hourly exam.) The research paper will address one of two core questions: (1) why have nations adopted different policies in response to a specific, commonly experienced policy problem or (2) why have nations varied in their success in combating a specific, commonly experienced policy problem. A paper prospectus describing the policy problem; outlining the research focus, time frame, and countries, and including a preliminary bibliography, is due October 22. The final paper is due December 5. (I will provide more details on this assignment in a special handout.) Class attendance is required, subject of course to a limited number of absences for sickness, family commitments, and the like; students are expected to actively participate in class. The elements of the final grade are weighted as follows:
Hourly Exam I: 20 % Hourly Exam II: 20 %
Paper Prospectus: 10 % Final Paper 25 %
Final Exam: 25 %
Part I: Introduction: Markets of Governments?
August 25: Course Introduction
- syllabus distribution, course overview (no required reading)
August 27: No Class (reading day - instructor at Annual Meeting of the APSA)
- Class HO Reading: "The Rationales for Government Intervention"
- Chapter 1 in Adolino and Blake
September 1: Labor Day Holiday
September 3: Perspectives on Markets and Government
- begin Chapters 2 and 3 in Adolino and Blake
Recommended for future reading: Charles Wolf, Markets or Governments: Choosing Between Imperfect Alternatives. (Wolfs book provides a good introduction to "theories of market failures" as rationales for the public sector intervention in the private market and society. It also offers a "theory of government failure" that embodies quite a bit of contemporary neoconservative thinking on why big government might be as bad as feeble markets in meeting societys needs. For a critical perspective on these neoconservative ideas, and on Reaganism and Thatcherism specifically, see Peter Self, Government by the Market: The Politics of Public Choice (Westview Press, 1993). For a classic on markets versus governments in meeting societies needs, see Charles Lindblom, Politics verses Markets (Basic Books, 1977).
September 8: Government Responses to Public Policy Problems: The Policy Process and Theories of Policy Making.
- Finish Chapters 2 and 3 of Adolino and Blake
Part II: The Social Security and Health of Nations
September 10: How Did We Get Here? The Development and Crisis of the Social Welfare State
- Class HO Reading: "The Origins of Cross-National Variations in Social Security and Welfare"
- Ch. 9, "Social Policy," in Adolino and Blake
There are many excellent treatments of the development of social insurance and welfare programs. Perhaps most useful are: Esping-Andersens Three Worlds of Welfare Capitalism (London: Polity Press, 1990); John Myles, Old Age and the Welfare State (University of Kansas Press, 1989); Peter Flora and Arnold Heidenheimer, The Development of Welfare States in Europe and America (New Brunswick: Transaction, 1981), Peter Baldwin, The Politics of Social Solidarity: Class Basis of the European Welfare State (New York: Cambridge U. Press, 1990), John Williamson and Fred Pampel Old-Age Security in Comparative Perspective (New York: Oxford University Press, 1994), and Alex Hicks, Social Democracy and Welfare Capitalism (Ithaca: Cornell University Press, 1999).
September 15-29: More on Development and Crisis: A Case Study on the Health of Nations
- September 15: Introduction
- Ch. 1 in Graig
- Ch. 8 in Adolino and Blake
- September 17: The Development and Crisis of the US Health Care System
- Ch. 2 in Graig
- September 22: National Social Insurance in Continental Europe
- Ch. 3 in Craig (and Ch. 4 strongly recommended)
- September 24: The National Health System in Britain (with comparisons to Canada)
- Chs. 7 (UK) and 6 (Canada) in Graig
- September 29: The Future of Security and Health in the Rich Democracies
- Ch. 8 in Graig
POSC141: Public Policy in Industrialized Democracies Duane Swank
For an encompassing overview of how contemporary demographic changes, health care costs, and economic performance problems (e.g., unemployment) places pressures on the ability of governments to fund social protection in Europe and all the developed democracies, see among many other recent excellent treatments, Vic George and Peter Taylor-Gooby, European Welfare Policy (Policy Press). For more details on the demographic "crisis" of the welfare state, see OECD, Maintaining Prosperity in an Ageing Society (OECD, 1998); Peter G Peterson, Gray Dawn (NY: Times Books, 1999).
October 1: Who Gets What? Distributional Consequences of Social Policies
- Class HO reading: "Who Gets What: Material Inequalities and Redistribution
For more data, bibliography, and analysis of income inequality and poverty in the advanced market-oriented democracies are the OECDs, Income Distribution in OECD Countries (Paris, OECD, 1995) and Michael Förster, "Trends and Driving Factors in Income Distribution and Poverty in the OECD Area." Labour Market and Social Policy - Occasional Paper #42 (Paris, OECD, 2000).
October 6: Hourly Exam I
Part III: Dismantling the Welfare State?
October 8-20: The Politics of Welfare State Retrenchment
- October 8: Chs. 1 and (begin 2) of Pierson, Dismantling the Welfare State
- October 13: Chs. (Finish) 2 and 3 of Pierson, Dismantling the Welfare State
- October 15: Chs. 4-5 of l Pierson, Dismantling the Welfare State
- October 20: Chs. 6-7 of Pierson, Dismantling the Welfare State
For additional analysis of the politics and economics of "dismantling the welfare state," see Gosta Esping-Andersen ed., Welfare States in Transition (Thousand Oaks, CA: Sage, 1996), Evelyne Huber and John Stephens, The Development and Crisis of the Welfare State (Chicago University Press, 2001), and Paul Pierson, ed. The New Politics of the Welfare State (Oxford University Press, 2001).
Part IV: Human Capital: An Overview of Educational Policy in Advanced Democracies.
October 22/27: The Politics of Education Policy
- Ch. 10, "Education Policy," in Adolino and Blake
- Class HO Reading: "An Overview of Educational Policy Problems and Reforms"
October 22: Paper prospectus due
POSC141: Public Policy in Industrialized Democracies Duane Swank
Many of the debates and political conflicts in education policy revolve around the issues of comprehensive versus tripartite (or otherwise selective) school systems and market-based "choice" systems versus public school systems. Particularly useful surveys of these issues are, respectively, Achim Leschinsky and Karl Ulrich Mayer, eds., The Comprehensive School Experiment Revisted: Evidence from Western Europe (Frankurt am Main: Verlag Peter Lang, 1990) and OECD, School: A Matter of Choice (Paris: OECD, 1994) and Edward Fiske and Helen Ladd, When Schools Compete: A Cautionary Tale (Washington, DC: Brookings, 2000). For bibliography and analysis of education, human capital, and economic performance, see OECD, The Well-being of Nations (Paris: OECD, 2001).
Part V: The Politics of the Economy: Growth and Jobs
October 29: Contemporary Problems of Economic Performance and Economic Policies
- Class HO Reading: "Economic Performance Problems and Policies in the Advanced Market Economies"
- Ch. 7 in Adolino and Blake (Ch. 6 recommended)
Recommended: Good, non-technical introductions to the economic performance problems of the advanced market-economies since the mid-1970s can be found in Hui-Liang Tsai, Energy Shocks and the World Economy (New York: Prentice Hall, 1989), OECD, The Jobs Study, Volumes I-V (Paris: OECD, 1994-96), and the OECDs periodical, Economic Outlook. For more on economic theory, policies, and politics of the economy, see Robert Franzese, Macroeconomic Policies in the Developed Democracies (NY: Cambridge University Press, 2002).
November 3: "Varieties of Capitalism:" How Different Economic Systems Cope .."
- Class HO Reading: "Managing Economic Performance in Competing Models.."
Good supplemental discussions of the structure and policies of liberal market economies, sector-coordinated market economies, and social corporatist systems can be found in (the somewhat advanced) Colin Crouch and Wolfgang Streek, The Political Economy of Contemporary Capitalism (Sage, 1997), Herbert Kitschelt, Gary Marks, Peter Lange, and John Stephens, Change and Continuity in Contemporary Capitalism (Cambridge University Press, 1999), and Peter Hall and David Soskice, Varieties of Capitalism (NY: Oxford University Press 2001).
November 5: Second Hourly Exam
Part VI: Globalization and Domestic Policies: Diminished Democracy?
November 10: Globalization and the Welfare State
- Class HO Reading: International Economic Integration and Domestic Policy Autonomy
- Duane Swank, "Social Democratic Welfare States in a Global Economy: Scandinavia in Comparative Perspective," In Rober Geyer, Christine Ingrebritsen, and Jonathon Moses, eds., Globalization, Europeanization, and the End of Scandinavian Social Democracy? (Macmillan/St. Martins, 1999). (LR)
November 12-December 3: Internationalization, Regional Integration, and Environmental Protection
- November 12: - Ch. 11, "Environmental Policy," in Adolino and Blake
- November 17 - Ch. 1 in Vogel, Trading Up (begin Chs. 2-3)
- November 19: - Chs. 2- 3 in Vogel, Trading Up
- November 24 - Chs. 4-5 in Vogel, Trading Up
- November 26 - first day of Thanksgiving Holiday break
- December 1: - Chs. 6-8 in Vogel, Trading Up
The literature on globalization and domestic policies is large. For conventional statements of the globalization thesis that democratic governments are losing their ability to pursue their preferred policies, see Richard McKenzie and Dwight Lee, Quicksilver Capital: How the Rapid Movement of Wealth Has Changed the World (Free Press, 1991), Ramesh Mishra, Globalization and the Welfare State (Edward Elgar 1999), William Grieder, One World, Ready or Not (Simon and Schuster, 1997). For accessible and critical reflections on the globalization thesis, see George Soros, On Globalization (.....) and Joseph Stiglitz, Globalization and Its Discontents (NY: W.W. Norton, 2002). Robert Boyer and Daniel Drache, States Against Markets: The Limits of Globalization (Routledge, 1996) and Paul Hirst and Grahame Thompson, Globalization in Question (Polity Press, 1996). On the process of Europeanization and domestic policy, see Paul Pierson and Stephan Leibfried, European Social Policy (Washington, DC: Brookings, 1996). For extensive treatments of many issues connected to the domestic impacts of globalization, see Robert Keohane and Helen Milner eds., Internationalization and Domestic Politics (New York; Cambridge University Press, 1996), Suzanne Berger and Ronald Dore, National Diversity and Global Capitalism (Ithaca, NY: Cornell University Press, 1996), and Duane Swank, Global Capital, Political Institutions, and Policy Change in Developed Welfare States (NY: Cambridge University Press, 2002).
December 3: Summing Up
Research Papers Due (December 5)
Final Exam (Monday, December 8, 1-3 pm.)


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Ashley Adams was one bad chick we had on Monster Curves this week. When the video started out, the guys were talking about how she'd given them a call to come pick her up at the beach. Apparently, some guy had left her high and dry after the were about to bang. Ashley was still horny and started teasing right away. She was in a dress and dipped it in the water so it stuck to her huge naturals tits. They invited Ashley back to the house for a bite, and she went along. Back at the house, food wasn't on the menu, but pussy was. Gavin jumped right in, pulled out Ashley's perfect tits and started rubbing her pussy.
He got her all nice and wet, and Ashley returned the favor by giving him an amazing blow job. This girl could suck like a Dyson. Gavin oiled up those massive juggs and made them shine in all their glory. He pounded that HOT pussy all over the couch, as Ashley's big tits bounced and rebounded all over. This girl was an absolute firecracker! She fucked like a pro, and Gavin was in heaven. When he went to cum, Gavin pulled out and busted such an intense nut that it completely covered Ashley's entire face.


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Sifted: Stuffed Oreos, Boozy Pops and Crazy Compost Cookies
By: Lauren Miyashiro
- Oreo stuffed chocolate chip cookies are big in size and deliciousness. Picky Palate pulled a switcharoo and reduced the size (but not the flavor) with her warm baked chocolate chip cookie stuffed Oreos.
- Boozy ice pops are the perfect adult treat for a hot summer day. We'll take one (or two) of Daisy's World's bellini pops, please.
- Celebrate Julia Child's 100th birthday and #CookForJulia. Crispy Bits n Burnt Ends' beautiful rendition of Julia's lobster soufflé and deviled chicken is inspiration to join in on the fun.
- Tie dye frosting adds a groovy swirl to your favorite cupcakes. Mel's Kitchen Cafe shows you how.
- How Sweet It Is' Crazy Confetti Compost Cookies certainly live up to their name. Chocolate, pretzels, chips, heath bar, peanut butter chips, coffee -- oh my!
- Check out more Julia Child recipes cooked by home cooks everywhere.
- Oreos make a fine addition to brownies, too.
- Is rum more your thing? Try our strawberry mojito ice pops.


text: Does the SunSource® communication module need an Internet connection?Yes, you will need an Internet connection if you want to use the system's online monitoring system. The system allows you to view energy production and environmental information. The monitoring service is provided free of charge for five years, and the performance-monitoring website is maintained by an independent third party, Enphase Energy Inc.


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I will need some assistance. I am going to Ann Arbor, Michigan, USA for about 4 months. I am staying in a room of another person. The other person will rent an apartment for the owner. He will sign the lease. I will then pay him my share. This share is a pre-determined value + extra for electricity/internet. I can give all the details once you are selected. I want us to sign an agreement that mak...
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I just read a press release from Maryland's Department of Health and Mental Hygiene. First, how strange is that term . . . mental hygiene . . . MENTAL hygiene?
Anyway, on the one hand I am glad that steps are in place to give women access to home birth. And if physicians and CNMs will actually attend these home births, then it's possible that insurance will cover these births. Hooray!
However, I don't believe that a physician or CNM is necessary for a great outcome at home. A trained midwife, CPM or otherwise, should be just as capable of handing low and lower risk births at home.
Furthermore, many women who fall outside of the definition of low risk will have better birth experiences outside the confines of a hospital. Typically, physicians and CNMs are not able to provide homebirth services to these women and their babies. I don't recommend limiting their ability to find qualified providers who will attend them at home. I hope this board will use better mental hygiene and reconsider their ban on lay midwifery.